DOCSLIB.ORG

90 CHAPTER THREE EXECUTION and EXPRESSION H.C. Koch's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
90 CHAPTER THREE EXECUTION and EXPRESSION H.C. Koch's CHAPTER THREE EXECUTION AND EXPRESSION H.C. Koch’s Twofold Definition of Ausführung Heinrich Christoph Koch, in his Musikalisches Lexikon of 1803, defines the word Ausführung in two ways.1 In the first sense of his definition, Ausführung is the portion of the act of composition in which the good composer, with the help of skill and taste, elaborates the ideas emerging from Begeisterung (“inspiration’) and set forth in Anlage (“disposition”), that are the primary content of a piece of music. It is the part of the process in which a composition moves from the composer’s imagination to paper. In the second sense, Ausführung is the act of 1 Heinrich Christoph Koch, Musikalisches Lexikon (Faksimile-Reprint der Ausgabe Frankfurt/Main 1802) (Kassel: Bärenreiter, 2001), 187-94. Wiebke Thormählen’s paper “The Cultural Politics of the Virtuosic Gesture in Beethoven’s String Quartet Op. 29” presented at the international conference on “Music and Gesture” at the University of East Anglia in August 2003 first made me aware of this quality of Koch’s definition. Koch’s compositional theories are set out more thoroughly in his Introductory Essay in Composition: The Mechanical Rules of Melody, Sections 3 and 4 trans. Nancy Kovaleff Baker (New Haven: Yale University Press, 1983), where the relevant stages of the compositional process are described in detail (see in particular chapter four, “The Arrangement of Larger Compositions,” 165-248.) See also Nicole Schwindt-Gross, Drama und Diskurs. Zur Beziehung zwischen Satztechnik und motivischem Prozeß am Biespiel der durchbrochenen Arbeit in den Streichquartetten Mozarts und Haydns (Laaber: Laaber-Verlag, 1989), particularly 75-106, which offers a useful overview of the intellectual contexts of Koch’s theories. For a look at the history of the concepts “composition” and “performance” and their relation, with an extensive bibliography, see John Butt, “Negotiating Between Work, Composer and Performer: Rewriting the Story of Notational Progress” in Playing with History: The Historical Approach to Musical Performance (Cambridge: Cambridge University Press, 2002), 96-124. 90 91 making music sound, the practice for which Koch’s generation of musicians in German-speaking lands also often used the fittingly rhetorical term Vortrag. Indeed, Koch’s division of musical practice, including composition and performance, into segments reminiscent of the rhetorical categories inventio-dispositio-elaboratio-elocutio is a trope in eighteenth century writings from Meinrad Spiess to Johann Nikolaus Forkel. Koch’s inclusion of performance in the compositional process is not new. Spiess, who was born in the seventeenth century but wrote on musical topics far into the eighteenth, wrote: The musical figures, the so-called manners, coloraturas etc. are the elaboration and end decoration of harmonic composition...the first, namely the musical figures...are set on paper by the composer. [The other elements of music], also manners, coloraturas etc. are left to the judices or powers of judgment and virtuosity of the vocalists and instrumentalists. However, it must be always attended to that the manners and colorateur to be performed, be, so to speak, put into the mouths of the performers. 2 It is unquestionable that all of the composers and theorists we will encounter in this chapter were to some degree operating in an intellectual 2 “Die Figurae Musicae, die sogenannte Manierae, Coloraturae &c. seynd die Zierd und Geschmuck der harmonischen Composition... Die erste, nemlich die Figuras Musicas...setzt der Componist zu Papier. Die andere, fc. die Manieren, Coloraturen usw. überlasset man dem Judices oder Beurtheilungs-Geist, und Vituosité der Herren Vocalisten und Instrumenalisten. Jedoch muß gleichwohl allzeit dahin gesehen werden, daß jeder Stimme die etwa zu machende Manier oder Colorateur, so zu reden, ins Maul gegeben werde.” Meinrad Spiess, Tractatus musicus compositorio (Augsburg: Johann Jacob Lotters seel. Erben, 1746), 135. 92 context where classical rhetorical strategies were still very real. 3 Without ignoring this factor, I will pursue expressive elements of composition and performance not so easily quantified, perhaps, as the Quintillian rhetoric of the learned orator, elements that emerged concurrently to the gradual disappearance of this older, humanist paradigm.4 The one by no means needs to rule the other out; it is better, perhaps, to imagine the two ways of thinking about composing and performing music – the “rhetorical” and the “expressive” – as two layers in the historical record that nonetheless occupy the same period in history.5 Indeed, “rhetoric” and “expression” are a sloppy binary opposition, since the former need not in any way preclude the later.6 Koch’s Ausführung, then, unites the rhetoric of composition with the rhetoric of performance, by bringing both “text” and “act” under one 3 See, for instance, Schwindt-Gross’s claim that Koch’s theories drew directly on his rhetorical training, in Drama und Diskurs, 73-75. For the role of rhetoric in eighteenth-century theories of performance see, in a large literature, George J. Buelow, “Music, Rhetoric, and the Concept of the Affections: A Selective Bibliography,” Notes 30 (1973), 250-59. John Irving, Mozart's Piano Sonatas: Contexts, Sources, Style (Cambridge: Cambridge University Press, 1997); Tom Beghin, Forkel and Haydn: A Rhetorical Framework for the Analysis of Sonata Hob. XVI:42(D), DMA Dissertation, Cornell University 1996; and George Barth, The Pianist as Orator: Beethoven and the Transformation of Keyboard Style (Ithaca: Cornell University Press, 1992). 4 Cf. J. Neubauer, The Emancipation of Music from Language: Departure from Mimesis in the Eighteenth Century (New Haven: Yale University Press, 1986). On the dangers of the exclusive use of rhetoric as a tool for understanding eighteenth-century music see Peter Williams, “The Snares and Delusion of Musical Rhetoric: Some Examples from Recent Writings on J.S. Bach” in Alte Musik: Praxis und Reflexion, eds. P. Riedemeister, and V. Gutmann (Winterthur: Amadeus, 1983), 230-40. 5 See Reinhart Koselleck, Zeitschichten: Studien zur Historik (Frankfurt: Suhrkamp, 2003), 19-26. 6 Cf. David Yearsley’s claim that the arch-rhetorician Johann Mattheson saw all rhetorical expression as individual (that is, not allegorical) in Ideologies of Learned Counterpoint in the North German Baroque (PhD Dissertation: Stanford University, 1995), 288. 93 umbrella. This is a critical detail. The history of musical composition in the late Enlightenment often stops with the examination of the compositional act itself, the expressive practice (if indeed it is viewed through the lens of expressivity at all) of the composer at his writing desk.7 With the exception of those works intended to be received as improvisatory or fantastic, the role of performance in the wider practice of composition, and with it the musical work’s first interactions with the world around it, gets short shrift. This chapter will use Koch’s double definition as a point of departure for the exploration of the grey area between the composition and performance by reflecting on the somewhat arbitrary border between “creation” and “reception.” To do this we will have to face problems of sources. If musical materials like sketches and autographs are the historical sources for the study of compositional processes, what are the sources for past musical performances? The history of music created in the eras before recording technology is constructed from written documents, from the mortal remains of the first kind of Ausführung. We must face the challenge of looking for traces of the second kind, of performance in written sources. Later in this chapter I will introduce quartets by Luigi Boccherini and 7 The essays in Christoph Wolff, ed., The String Quartets of Mozart, Haydn, Beethoven: Studies of the Autograph Manuscripts (Cambridge, Mass.: Harvard University Press, 1980), are exemplary studies of this kind, particularly Ludwig Finscher, “Aspects of Mozart's Compositional Process in the Quartet Autographs,” 121-153; Marius Flothuis, “A Close Reading of the Autographs of Mozart's Ten Late Quartets,” 154-178; and Christoph Wolff, “Creative Exhuberance vs. Critical Choice: Thoughts on Mozart’s Quartet Fragments,” 191-215. All of these, however, need to be read in light of the insights gained into Mozart’s compositional practice by Ulrich Konrad in his study of Mozart’s sketches, see Mozarts Schaffensweise: Studien zu den Werkautographen, Skizzen und Entwürfen (=Abhandlungen der Akademie der Wissenschaften in Göttingen, philologisch-historische Klasse, Dritte Folge, Nr. 201) (Göttingen: Vandenhoeck & Ruprecht, 1992). 94 Paul Wranitzky as a foil against which to investigate one of Mozart’s “Haydn” quartets, looking in their texts for signs of such historical acts of performance. As I will show, each of the three composers approaches the challenge of performance differently. Boccherini composes performance into the musical fabric of the quartet itself; Koch’s second kind of Ausführung, in a very real way, becomes the guiding principle of the work. Wranitzky, by contrast, focuses on Anlage and compositional Ausführung, but leaves little evidence that he was concerned with the bodily dimensions of his music’s actual physical performance. Mozart engages thoroughly with both. Subtle variations of dynamic and temporal nuance, introduced into the texts of the “Haydn Quartets” throughout the compositional process, reveal Mozart’s interest in questions of control,
Load more

Recommended publications
  • Mark Evan Bonds
    MARK EVAN BONDS Department of Music 1064 Sweetflag Lane University of North Carolina Hillsborough, NC 27278 Chapel Hill, NC 27599-3320 [email protected] ACADEMIC POSITIONS 1992- University of North Carolina at Chapel Hill, Department of Music, Cary C. Boshamer Distinguished Professor (2007- ); Professor (1997-2007); Associate Professor (1992-97) 1991 Harvard University, Department of Music, Visiting Assistant Professor (Fall Semester) 1988-92 Boston University, School of Music, Assistant Professor EDUCATION 1984-88 Harvard University, Ph.D. in Musicology (Dissertation: “Haydn’s False Recapitulations and the Perception of Sonata Form in the Eighteenth Century”) 1977-78 University of North Carolina at Chapel Hill, M.S. in Library Science 1975-77 Christian-Albrechts-Universität Kiel (W. Germany), M.A. in Musicology, with Distinction; Minor in German Literature (Thesis: “Das Cantus-firmus-Prinzip bei Haydn und Mozart”) 1971-75 Duke University, B.A. magna cum laude, with Distinction in Music PUBLICATIONS SCHOLARLY MONOGRAPHS Absolute Music: The History of an Idea. New York: Oxford University Press, 2014. Paperback ed. 2017. Russian translation (Moscow: Delo) under contract for publication in early 2019. Music as Thought: Listening to the Symphony in the Age of Beethoven. Princeton: Princeton University Press, 2006. Paperback ed. 2014. Spanish translation: Barcelona: Acantilado, 2014. Japanese translation: Tokyo: Artes, 2015. After Beethoven: Imperatives of Originality in the Symphony. Cambridge, MA: Harvard University Press, 1996. Reprint ed. 2013. Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cambridge, MA: Harvard University Press, 1991. Reprint ed. 2013. Japanese translation: Tokyo: Ongaku No Tomo Sha, 2018. TEXTBOOKS Listen to This. 4th ed. Hoboken, NJ: Pearson, 2017.
    [Show full text]
  • Beethoven's Fourth Symphony: Comparative Analysis of Recorded Performances, Pp
    BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY A Dissertation Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Mark Christopher Ferraguto August 2012 © 2012 Mark Christopher Ferraguto BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY Mark Christopher Ferraguto, PhD Cornell University 2012 Despite its established place in the orchestral repertory, Beethoven’s Symphony No. 4 in B-flat, op. 60, has long challenged critics. Lacking titles and other extramusical signifiers, it posed a problem for nineteenth-century critics espousing programmatic modes of analysis; more recently, its aesthetic has been viewed as incongruent with that of the “heroic style,” the paradigm most strongly associated with Beethoven’s voice as a composer. Applying various methodologies, this study argues for a more complex view of the symphony’s aesthetic and cultural significance. Chapter I surveys the reception of the Fourth from its premiere to the present day, arguing that the symphony’s modern reputation emerged as a result of later nineteenth-century readings and misreadings. While the Fourth had a profound impact on Schumann, Berlioz, and Mendelssohn, it elicited more conflicted responses—including aporia and disavowal—from critics ranging from A. B. Marx to J. W. N. Sullivan and beyond. Recent scholarship on previously neglected works and genres has opened up new perspectives on Beethoven’s music, allowing for a fresh appreciation of the Fourth. Haydn’s legacy in 1805–6 provides the background for Chapter II, a study of Beethoven’s engagement with the Haydn–Mozart tradition.
    [Show full text]
  • Eighteenth Century Music ABSENT CADENCES
    Eighteenth Century Music http://journals.cambridge.org/ECM Additional services for Eighteenth Century Music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here ABSENT CADENCES DANUTA MIRKA Eighteenth Century Music / Volume 9 / Issue 02 / September 2012, pp 213 - 235 DOI: 10.1017/S147857061200005X, Published online: 30 July 2012 Link to this article: http://journals.cambridge.org/abstract_S147857061200005X How to cite this article: DANUTA MIRKA (2012). ABSENT CADENCES. Eighteenth Century Music, 9, pp 213-235 doi:10.1017/S147857061200005X Request Permissions : Click here Downloaded from http://journals.cambridge.org/ECM, IP address: 152.78.130.203 on 29 Sep 2013 Eighteenth-Century Music 9/2, 213–235 6 Cambridge University Press, 2012 doi:10.1017/S147857061200005X absent cadences danuta mirka ABSTRACT The slow movement of Symphony No. 64 in A major, ‘Tempora mutantur’, has long intrigued Haydn scholars on account of its absent cadences and enigmatic form. The Latin title of the symphony is thought to be derived from the epigram by John Owen, a near-contemporary of Shakespeare, and it was used by Elaine Sisman to support her hypothesis that the slow movement formed part of Haydn’s incidental music for Shakespeare’s Hamlet. The enigma can be explained through an analysis informed by concepts native to eighteenth-century music theory. The absent cadences create instances of ellipsis, a rhetorical figure described by Johann Adolph Scheibe and Johann Nikolaus Forkel, and the form plays with a familiar template codified by Heinrich Christoph Koch. This analysis leads to a different interpretation. Rather than suggesting the protagonist of Shakespeare’s tragedy, the movement stages a fictive composer in an act of musical comedy not dissimilar to that in Symphony No.
    [Show full text]
  • Curriculum Vitae Charles Dill University of Wisconsin-Madison
    Curriculum Vitae Charles Dill University of Wisconsin-Madison School of Music 5523 Humanities Building 455 North Park Street Madison, Wisconsin 53706 Education 1989 Ph.D. (Music History), Princeton University. Dissertation: "The Reception of Rameau's Castor et Pollux in 1737 and 1754" (supervisor: Harold S. Powers). 1985 M.F.A. (Music History), Princeton University. 1982 M.M. (Music History), University of North Texas. Thesis: "French Theories of Beauty and the Aesthetics of Music 1700- 1750." 1978 B.M.E. (Clarinet), with honors, Baylor University. Thesis: "First-Movement Form in Selected Pre-Classic Symphonies." Positions Held 2001-present Professor of Music, University of Wisconsin-Madison. Spring 2006 Visiting Professor, Washington University. Team-taught course on opera for Humanities program. 1995-2001 Associate Professor of Music, University of Wisconsin-Madison. Responsible for teaching courses on theory and method in musicology and on the history of Western music. 1989-1995 Assistant Professor of Music, University of Wisconsin-Madison. Spring 1989 Visiting Instructor, Westminster Choir College, Princeton, New Jersey. Responsible for graduate seminar in musicology and bibliography. 2 1988-1989 Assistant Concert Manager, Princeton University. Responsible for advertising, bookkeeping, supervision of student employees. 1985-1987 Research Assistant to Professor Margaret Bent, Princeton University. Responsible for arranging a Mellon-funded seminar on modality and 16th- century counterpoint, for arranging a benefit concert for the American Musicological Society, for proofreading scholarly articles and newsletter of the American Musicological Society. 1985-1986 Director, Princeton University Musicology Colloquium Series. Responsible for scheduling and arranging of guest lectures. 1984-1987 Assistant Instructor, Princeton University. Responsible for class sections of music history and music appreciation courses.
    [Show full text]
  • AMS Newsletter August 2003
    VOLUME XXXIII, NUMBER 2 August 2003 ISSN 0402-012X AMS Houston 2003 <www.ams-net.org/houston> The sixty-ninth annual meeting of the Ameri- can Musicological Society will be held in Houston, Texas, from Thursday, 13 Novem- ber through Sunday, 16 November 2003. The conference sessions will take place at the Hyatt Regency in downtown Houston. One of the largest hotels in the downtown area, the thirty-story Hyatt has close to a thousand rooms, three restaurants, an outdoor rooftop pool, and a fully equipped fitness center. The Hyatt lies six blocks southeast of Houston’s downtown theater district, which includes Jones Hall (the home of the Houston Sym- phony Orchestra), the two-theater Wortham Center (home to the Houston Grand Opera, the Houston Ballet, and the Da Camera Soci- ety), the Alley Theater, and the Hobby Center for the Performing Arts. This is the Society’s first meeting in Hous- ton, the country’s fourth largest city. Hous- ton’s vibrant arts scene includes top-flight opera, ballet, symphony, and theater, a lively international film festival, and excellent museums. A cosmopolitan seaport, Houston is also known for its food and popular music. Local specialty cuisines include Cajun, Tex- Mex, Mexican, Vietnamese, Indian, and South- western, and one can find good zydeco, salsa, blues, Western swing, and country-western bands throughout the city. Although down- town has experienced a revival in recent years, much of this activity happens in areas close to downtown, such as the Montrose and the Museum District. In This Issue . President’s Message 3 Executive Director’s Report 4 Committee Reports 6 Grants and Fellowships Available 7 Moores Opera House, University of Houston Courtesy of the University of Houston Awards, Prizes, and Honors 8 Forthcoming Conferences 10 Program.
    [Show full text]
  • An Intricate Simplicity: Contraries As an Evocation of the Sublime in Mozart's Jupiter Symphony, K
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2011 AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551 Emily Michelle Wuchner [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons Recommended Citation Wuchner, Emily Michelle, "AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/925 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Emily Michelle Wuchner entitled "AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Leslie C. Gay, James Fellenbaum Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Emily Michelle Wuchner entitled “An Intricate Simplicity: Contraries as an Evocation of the Sublime in Mozart‟s Jupiter Symphony, K.
    [Show full text]
  • A Glimpse of Columbia History
    2 C olumbia U niversity RECORD September 26, 2003 A Glimpse of Columbia History . PHOTO COURTESY OF UNIVERSITY ARCHIVES AND COLUMBIANA LIBRARY Members of the Columbia chapter of Delta Upsilon convene over a game of chess, circa 1897. Delta Upsilon was established in 1885 and disbanded in 1964. Elaine Sisman Elected President of the American Musicological Society ter greater interaction within the four branches of the depart- BY KRISTIN STERLING ment—composition, historical musicology, ethnomusicology laine Sisman, chair of (UPS 090-710 ISSN 0747-4504) and theory. Vol. 29 No. 2, September 26, 2003 the Department of “We are seeing that historical EMusic, has been elected musicology is becoming more Published by the president of the American Musi- cultural, and ethnomusicology is Office of Public Affairs cological Society (AMS), a pro- becoming more historical,” she t:212-854-5573 f:212-678-4817 fessional organization founded in June Massell says. “Some of our composers Vice President for Communications 1934 to advance research in the are also prominent theorists, and and External Affairs various fields of music as a theory and history have always Susan Brown branch of learning and scholar- been closely connected. The jazz Assistant Vice President of Public Affairs ship. The Society now has 3,300 field cuts across all of these areas, members and 1,200 subscribing and the Computer Music Center Columbia RECORD Staff institutions from 40 nations. develops cutting-edge technolo- The AMS sponsors an annual gy for use in composition and Colin
    [Show full text]
  • The Public Face of the Humanities
    2014 ACLS Annual Meeting May 8-10, Philadelphia, PA 2014 ANNUAL MEETING of the AMERICAN COUNCIL OF LEARNED SOCIETIES Sheraton Society Hill Hotel One Dock Street, Philadelphia, PA May 8-10 Thursday, May 8 12:00 noon-1:30 pm ACLS Board of Directors, Executive Committee (members only) – Boardroom 2:00-5:00 pm ACLS Board of Directors Meeting (members only) – Cook 5:45-6:30 pm Welcome Reception – )BNJMUPO 6:30-8:30 pm Buffet Supper – )BNJMUPO 8:00-10:00 pm Money, Members, Mission: Learned Societies by the Numbers – Ballroom C Friday, May 9 7:45-8:45 am Executive Committee of the Delegates Breakfast Meeting (members only) – Boardroom 7:45-9:00 am Continental Breakfast – Ballroom Foyer 9:00-10:15 am Emerging Themes and Methods of Humanities Research: Discussion with ACLS Fellows – Ballroom CD&E Stephen Berry, 2013 ACLS Digital Innovation Fellow Professor, Department of History, University of Georgia Lori Khatchadourian, 2013 ACLS Fellow Assistant Professor, Department of Near Eastern Studies, Cornell University Laura Turner Igoe, 2013 Henry Luce Foundation/ACLS Dissertation Fellow in American Art, Doctoral Candidate, Temple University, Tyler School of Art Elaine Sisman, Moderator ACLS Board of Directors, Anne Parsons Bender Professor of Music, Columbia University 10:15-10:30 am Coffee Break 10:30-11:15 am Report of the President 11:15 am-12:00 noon Meeting of the Council 12:00 noon-12:30 pm Reception – Ballroom Foyer 12:30-2:00 pm Luncheon and Speaker – Ballroom A&B Earl Lewis President, The Andrew W. Mellon Foundation 2:15-4:00 pm The Public
    [Show full text]
  • Board Committee Faculty Staff Documents B15 3
    I-B-15 THE GRADUATE SCHOOL AND UNIVERSITY CENTER APPOINTMENT OF V. KOFI AGAWU AS DISTINGUISHED PROFESSOR WHEREAS, Professor V. Kofi Agawu is an internationally renowned scholar of music theory, musicology and enthnomusicology with expertise in the music of Mozart, Beethoven and Mahler and African music; and WHEREAS, Professor Agawu has written five books, including, Playing with Signs: A Semiotic Interpretation of Classical Music (1991), African Rhythm: A Northern Ewe Perspective (1995), Representing African Music: Post-Colonial Notes, Queries, Positions (2003), Music as Discourse: Semiotic Adventures in Romantic Music (2009) and The African Imagination in Music (2016); and WHEREAS, in addition, Professor Agawu has written more than 75 peer-reviewed journal articles and given over 100 keynote addresses and invited lectures; and WHEREAS, Professor Agawu has been awarded a Guggenheim Fellowship, the Howard T. Behrman Award for Distinguished Achievement in the Humanities, Princeton University’s most acclaimed humanities award and is a Fellow of the Ghana Academy of Arts and Sciences; and WHEREAS, Dr. Agawu joined the Graduate Center in January 2019 as a Professor in the Music Ph.D. program. From 1998 to 2018, he was Professor of Music and then Hughes-Rodgers Professor of Music at Princeton University. Prior to that, he was Professor of Music at Yale University (1995 – 1998), Associate Professor and then Professor of Music at Cornell University (1989 – 1995) and Lecturer/Assistant Professor of Music at King’s College London (1986-1989), Duke University (1984-1986) and Haverford College (1982-1984). Dr. Agawu earned his Ph.D. in Historical Musicology from Stanford University, an M.
    [Show full text]
  • 2018 ANNUAL MEETING of the AMERICAN COUNCIL of LEARNED SOCIETIES
    2018 ANNUAL MEETING of the AMERICAN COUNCIL OF LEARNED SOCIETIES Sheraton Society Hill One Dock Street Philadelphia, PA April 26-28 PARTICIPANTS ACLS fellows (F) and grantees (G) are denoted in italics with their award year(s). ACLS Institutional Associates are denoted in bold. Members of the ACLS Research University Consortium are denoted with an asterisk. Representatives of ACLS Constituent Societies AFRICAN STUDIES ASSOCIATION CEO: Suzanne Moyer Baazet, African Studies Association Delegate: Dorothy L. Hodgson F’05, Rutgers University-New Brunswick* AMERICAN ACADEMY OF ARTS AND SCIENCES Delegate: Elaine Sisman, Columbia University* AMERICAN ACADEMY OF RELIGION CEO: Jack Fitzmier, American Academy of Religion Delegate: Russell McCutcheon, University of Alabama AMERICAN ANTHROPOLOGICAL ASSOCIATION CEO: Edward B. Liebow, American Anthropological Association Delegate: Monica S. Heller, University of Toronto AMERICAN ANTIQUARIAN SOCIETY Delegate: Scott E. Casper, University of Maryland, Baltimore County AMERICAN ASSOCIATION FOR THE HISTORY OF MEDICINE Delegate: Caroline Hannaway, American Association for the History of Medicine AMERICAN ASSOCIATION OF GEOGRAPHERS Delegate: J. Nicholas Entrikin, University of Notre Dame* AMERICAN COMPARATIVE LITERATURE ASSOCIATION CEO: Alexander Jamieson Beecroft F’11, University of South Carolina Delegate: Waïl S. Hassan F’16, University of Illinois at Urbana-Champaign* AMERICAN DIALECT SOCIETY CEO: Julie Roberts, University of Vermont Delegate: Luanne von Schneidemesser, University of Wisconsin-Madison* AMERICAN ECONOMIC ASSOCIATION CEO: Peter Rousseau, Vanderbilt University* Delegate: Charlotte V. Kuh, National Academy of Sciences (retired) AMERICAN FOLKLORE SOCIETY CEO: Jessica A. Turner, American Folklore Society Delegate: Lee Haring, City University of New York, Brooklyn College AMERICAN HISTORICAL ASSOCIATION CEO: James Grossman, American Historical Association Delegate: Cheryl Greenberg F’89, Trinity College (CT) AMERICAN MUSICOLOGICAL SOCIETY CEO: Robert F.
    [Show full text]
  • 2013 ACLS Annual Meeting May 9-11, Baltimore, MD MEETING SCHEDULE
    2013 ACLS Annual Meeting May 9-11, Baltimore, MD MEETING SCHEDULE 2013 ANNUAL MEETING of the AMERICAN COUNCIL OF LEARNED SOCIETIES Renaissance Baltimore Harborplace Hotel May 9-11 Thursday, May 9 12:00 noon-1:30 pm ACLS Board of Directors, Executive Committee (members only) – Guilford 2:00-5:00 pm ACLS Board of Directors Meeting (members only) – Fells Point 5:45-6:30 pm Welcome Reception – Baltimore Foyer 6:30-8:30 pm Buffet Supper – Baltimore Ballroom 8:00-10:00 pm Informal Discussions on Topics of Current Interest Open Access: Managing Change – Homeland Changing Funding Patterns in International and Area Studies – Fells Point Friday, May 10 7:45-8:45 am Executive Committee of the Delegates Breakfast Meeting (members only) – Guilford 7:45-9:00 am Continental Breakfast – Baltimore Ballroom 9:00-10:15 am Emerging Themes and Methods of Humanities Research: Discussion with ACLS Fellows – Maryland Ballroom Ruha Benjamin, 2012 ACLS Fellow Assistant Professor of Sociology and African American Studies Boston University Sarah H. Jacoby, 2012 ACLS Fellow Assistant Professor of Religious Studies Northwestern University Adrian Johns, 2012 ACLS Fellow Professor of History University of Chicago Teofilo F. Ruiz, Moderator Professor of History University of California, Los Angeles Member, ACLS Board of Directors 10:15-10:30 am Coffee Break 10:30-11:15 am Report of the President 11:15 am-12:00 noon Meeting of the Council 12:00 noon-12:30 pm Reception – Baltimore Foyer 12:30-2:00 pm Luncheon and Speaker – Baltimore Ballroom Jim Leach, Former Chairman, National Endowment for the Humanities 2:15-4:00 pm MOOCs, the Humanities, and Learned Societies – Maryland Ballroom Jeremy Adelman Walter Samuel Carpenter III Professor in Spanish Civilization and Culture, Princeton University Howard Lurie Vice President for University Relations, edX Jennifer Summit Professor of English, Stanford University James J.
    [Show full text]
  • 1 Listening for Tertiary Rhetoric in Haydn's Op. 77 String Quartets by Floyd Grave Abstract in a Pair of Recent Essays, Elaine
    1 Grave, Floyd. "Listening for Tertiary Rhetoric in Haydn's Op. 77 String Quartets." HAYDN: Online Journal of the Haydn Society of North America 4.1 (Spring 2014), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2014. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Listening for Tertiary Rhetoric in Haydn’s Op. 77 String Quartets by Floyd Grave Abstract In a pair of recent essays, Elaine Sisman has advanced a novel approach to the critical analysis of eighteenth-century instrumental works whose invention and publication fall within the familiar custom of the opus group. Citing George Kennedy’s distinction between two species of rhetoric—primary (the speech act itself) and secondary (involved with the reflective practice of rhetorical analysis)—Sisman proposes a third kind, a tertiary rhetoric by which we may imagine the works in an opus group to be engaged in conversation among themselves. Because the rhetorical field envisaged by Sisman’s concept normally comprises a full set of six works (or two sub-groups of three each), the possibilities of tertiary rhetoric are naturally limited in an opus that a composer has left unfinished—limited but not necessarily vitiated. In a famous case of the unfinished opus, Haydn’s Op. 77, which comprises just two quartets, we can discern an array of complementary relationships, stylistic dichotomies, and telling points of intersection by which the two pieces are variously opposed or bound together. The strands of an imaginary dialogue are thus in place, a musical conversation from which fresh insight into the music and its composer can be gained as we listen to the quartets’ discourse over such topics as tonal orientation, thematic construction, motivic process, ensemble play, rhetorical strategy, and the ingredients of structural cohesion.
    [Show full text]